James Kalm visits the exhibition Nathlie Provosty: (the third ear) at Nathlie Karg Gallery, New York, on view through May 8, 2016. In addition to a walk-through of the show, Kalm talks with Provosty about the work.
The gallery press release notes that "the exhibition plumbs the phenomenon of visual inaudible sound. Inaudible sound is sound that humans physically respond to, although they cannot hear it. Provosty proposes that this inaudible territory parallels the unseeable areas just outside the color spectrum. Her paintings therefore utilize colors at the far reaches of the spectrum, coupled with surfaces that vibrate and disappear, activating an expanded multi-sensory experience." Provosty expands on this notion, commenting: "Even thought they're paintings, I think of them as moving images, and in that way much more related to film or sculpture..."
Parkinson concludes: "The question [Blannin] now seems to be asking in relation to this new source [Piero della Francesca's Madonna del Parto (c.1455-60)] might be 'what (geometric) system underpins the construction?' The task of deciphering the connection to the source is not much different to that of working out the systems upon which some of her other works are predicated. In both sets of production it is how the word becomes flesh; the relationship between system and resultant image, between abstract and concrete, pattern and material presence that interests me, as well as the fundamental relationship, or indeed difference, between the artist’s physical construction and the perceptual construction of the viewer."
Kardon observes that "the mammoth scale of the work in Black and White Paintings takes one off guard. On a page, on a screen, or even from a good distance, the whole painting can be apprehended, despite its internal contradictions. But up close, at the distance from which they were painted, our physical relationship to these colossi distorts all perception. White spaces become enlarged or compressed as we pass from one end of the canvas to the other, and angles change as we get closer or further away. The sense of the whole becomes elusive. Rather than objects, the paintings behave as fields, where relationships dominate instead of physicality."
Stephen Maine reviews David Row: Four Decades of Painting at Loretta Howard Gallery, New York, on view through April 2, 2016.
Maine writes that "The work of New York painter David Row has been labeled 'conceptual abstraction' but the unabashed physicality of his work—of which 15 choice examples are on view at Loretta Howard Gallery—suggests “calisthenic abstraction” as an equally apt designation... A pictorial field that seems too small to accommodate the figure—that is, in which the boundaries of the canvas or panel appear to crop the image—has long been crucial to Row’s compositional strategy. Variously reiterated, it yields all manner of spatial displacement and disjunctions. But this instability is carefully controlled, meticulously planned—another paradox that only deepens the pleasure this stunning show affords."
Steven Alexander blogs about Paul Corio:Ghostzapper at McKenzie Fine Art, New York, on view through March 13, 2016.
Alexander writes: "This vibrant and beautifully installed show explores the capricious nature of color, employing both chance and intuition to create configurations that trigger full tilt chromatic dynamism. There is an element of obsessiveness in the complexity of Corio's compositions, and the depth to which he explores the nuances of color relations. But more prominent is a sense of playfulness, of reveling in the realization of endless possibilities."
Martin Mugar blogs about David Row: Four Decades of Painting at Loretta Howard Gallery, New York, on view through April 2, 2016.
Mugar writes: "The introduction of the curvilinear into [Row's] work appears to be lifted from the late paintings of de Kooning. To achieve an understanding of the Abstract Expressionist De Kooning, a notion of real physical gesture, which creates time and space, is crucial. Interestingly, Row reduces this to a semiotic sign. Granted they are hand painted but he domesticates the heroism of de Kooning into a sign that is often contrasted with another sign such as the stable grid pattern in 'Point of View.' However, when you realize that those swirling patterns are represented as a kind of irreducible sign of movement, like the convoluted twists and turns of Chinese dragon painting, then, Row’s life work becomes clearer and very interesting. He is really involved in the language of painting or better yet painting as language."
Fowler writes that "this exhibition provides a rare opportunity to see a range of work drawn from some forty years’ output of an artist who was involved in most of the major European abstract art movements of the 20th century, and who spent his whole career exploring how “pure” art (art without external content) could be produced from a geometric vocabulary of lines, squares, triangles, squares and circles... in all his work, Vodemberge was concerned to achieve visual balance within an asymmetric composition, while at the same time avoiding rigidity."
James Campion reviews Natalie Dower: Reflections, at Eagle Gallery, London, on view through January 16, 2016.
Campion writes: "All the works in the show sit on a spectrum of decipherability... I think it might be fruitful to evaluate each of Dower’s works in terms of her ‘management of decipherability’. One can think about how successfully the medley of decisions to do with colour, material, etc. works with the system being used. We could ask questions of any given work such as: does the use of a particular system with a particular material require a full revelation or a partial revelation of its logic? Or indeed, does a system presented in a particular state of decipherability demand a particular material?"
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.